Judy Dyble - The Whorl (2006)

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Judy Dyble - The Whorl (2006)

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The final instalment of Judy’s entrancing trilogy of albums for Talking Elephant is a perfect continuation of the second (Spindle), notably in the consistency of both its poetic lyrical invention and its adopted sound-world. It brings eight more new songs to the table, resplendent in beautiful aural clothing that’s smooth but edgy, refined but somehow quite primeval. The dominant timbre is, as before, intelligent prog-ambient keyboard texturings, which are all down to the wizardry of Judy’s chief collaborator Mark Swordfish (of Astralasia); however, such is the excellence of the recording that neither is Judy’s vocal ever in danger of being drowned in a sea of synths nor are the key instrumental lines or "voices" held anywhere but in exemplary balance. Although Judy’s now some distance away from the milieu of folk-rock where she made her name with the original lineup of Fairport Convention, she still retains a connection with that world – not just through occasional appearances at Cropredy but here on record through the very sound of her voice (one which some feel defined the late-60s’ initial love-affair with the experimental psych scene), that eternally unmistakable clear, pure tone and cut-glass enunciation which just couldn’t be anyone else. This quality enables the two genres to collide – or at least brush shoulders – just a little on The Whorl, notably on the mystical portrait of The Teller and the wistful romanticism of The Last Kiss. And, incidentally, that also occurs on the album’s one non-original, a magisterial reworking of the landmark first-album King Crimson number I Talk To The Wind. Elsewhere, the frontiers of song as we normally understand it are breached by the whispered spoken lyric of Seventh Whorl (offset against a jittery, chattering, eastern-inflected, or should I say astral-Asian, backdrop) and the electronically treated (wilfully obscured) vocal cadences of Wazzle Wizzle; these tracks provide a startling contrast with the genial simplicity of the opening mantra Starlight, whose rippling hammered dulcimer counterpoint is hard to resist, and the heady but harmonious expression of sensory perception in Forever Shining. In addition to the aforementioned Mark S, Judy’s support crew includes a certain Mr Fripp (soundscape and lead guitar), as well as Simon House (violins, keyboards), Peter Pracownik (guitars) and Dave Russell (banjo, bouzouki) – all of whom have a clearly defined part to play, and acquit themselves very well. And I’ll admit that I’ve never been a great fan of synth textures and programming, which I’ve often found used as gimmicks to mask a paucity of musical invention, but I’ll always happily make an exception when these resources are used creatively and selectively at the service of the music, as here they are throughout. All the elements come together most satisfyingly, and thus The Whorl now takes its place alongside Spindle as another triumphant addition to Judy’s CV; I eagerly await her next project.

Review by David Kidman

Judy Dyble has the rare touch of voice that is impossible to let pass by. Once you hear her voice it will remain in your personal "archives". AND the most exquisite part is the way she can possess the song she sings in, either hers or when covering someone elses´s song. I always have thought of her to be more progger-than folk. Of course the whole disclosure of the environment and instruments are completely Folk oriented, BUT the composition process offers a lot of space for experimentations. I myself think; that is the reason; considering her voice talent; she has been somehow overlooked; for more conventional "folk" aesthetics.) Her non conventional songs "freer" a la "King Crimson" impros and experimentations are really not that close to folk even the prog one. So here a lot of experimentation happens, BUT the songs do not divert to anywhere and nowhere; as it happens usually with experimental music. No; this woman as referred can possess the song as to let it progress for the purpose of itself not for the experimentation as such; no cheap tricks or detours. For me the mere fact of her as a true progger is undeniable. More experimental in its musical-language also; lets say this is not exactly "Fairport Convention" like melodies nor hard-rock/folk like the "Tull". They are closer to the ECLECTIC/prog-folk aesthetics. Judy Dyble is quiet appreciated by many founders of the first wave of Proggers. She normally gathers a very interesting crowd to the recording sessions (Robert Fripp-Lead Guitar, Effects [Soundscapes) in this one, among others). Her choice of songs to cover, give-out her root essentials (I Talk to the Wind" an early- KingCrimson song) and her songs (co-written with Swordfish) are very deep and intimate but also OBSCURE. Which turns them into an un-earthly experience more than an earthly/folk one. I myself greet this musician as a an example; both as a woman and a musician in this universe of Prog-Music *****5 "tough to choose between 3 very good Judy Dyble albums-close to masterful" Stars

Review by admireArt, ProgArchives.com

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Judy Dyble - The Whorl (2006)

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Judy Dyble - The Whorl (2006)

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Judy Dyble - The Whorl (2006)

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